Even the titles of his films are a little weird: The Saddest Music in the World, Cowards Bend the Knee, Brand upon the Brain! And then the images: Isabella Rossellini as a double amputee with artificial legs made of glass and full of beer; a girl who keeps her father’s severed hands preserved in a jar; Maddin’s father drilling into the skulls of orphans to extract the “nectar” that keeps Maddin’s mother eternally young — that last filmed like a silent three-reeler with iris shots and intertitles. In short, Guy Maddin makes Luis Buñuel and David Lynch look like Ron Howard. So it makes sense that he not only is Canadian but hails from that most Canadian of cities.

My Winnipeg is, he says, a documentary about his home town, and he insists that everything in it is true. I can believe that 5000 Nazis took over Winnipeg on “If Day” in 1942 and maybe even that his mother starred on a TV show that ran for 50 years called Ledge Man in which every day she talked a man out of committing suicide. But one of the film’s claims I just can’t accept, and when I get a chance to talk with Maddin, I have to ask him about it.

Tell me that the story about the horses freezing solid in the river was a legend, because otherwise it’s just too sad.It is sad, and it did happen, and you can double-check that one. Eleven horses had their heads stuck for the course of winter above the surface of the ice. But the movie as a whole is about one-third fact, one-third legend, and one-third opinion.

So it’s your basic Michael Moore movie.
It may be looked at that way. I wanted to make it like a film equivalent to a W.G. Sebald book, where he sets out on a stroll and ends up digressing and winds up in a really interesting place. It doesn’t matter whether Sebald really went on the stroll or not, he’s managed to cobble together a wonderful trip, and you realize the landscape that he covered with his feet doesn’t matter as much as the landscape of his heart.

But Ledge Man — this is a landscape of the heart, I’m assuming.
No. It was a TV version of a movie called Fourteen Hours. It was on TV when I was a kid. But it’s not in the IMDB or anything . . .

But your mother didn’t star in it . . .
She did. She’d dash off from the beauty salon and act in it. She was on the show the entire run, but there were different men over the years. Some of them went over the edge because they weren’t paid anything. Sometimes the camera man would go on the ledge for a while if the actor didn’t show. I remember watching her on the set.

Review: Cyrus Helicoptering parents and stay-at-home adult children have been popular issues of late, and at first, the Duplass Brothers' third feature (and their first made with a studio) seems poised to exploit them.

TransSiberian The payoff might be superficial, but the suspense and the intrigue compel.

Stockholm syndrome With its low crime rate and socialized everything, Sweden doesn’t seem very noirish compared with, say, LA. Then again, much of the country spends the entire winter without sunlight.

Different strokes Some say the movie impulse comes from voyeurism, but I think a case could be made for sado-masochism, especially after watching some of the selections in this year’s Boston Underground Film Festival.

Pan-American To understand the difference between Hollywood’s notion of fairy tales and Guillermo del Toro’s, compare the faun in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe with the one in Pan’s Labyrinth . Fauny girl: Innocence finds its way through Pan’s Labyrinth . By Peter Keough